Pay them in this video we're going to look at something called a gradient mesh wall that allows us to
do is do great things that don't kind of follow the straight line like a linear in or around radio gradient
we're going to do things like this where it kind of wraps around in these different consistencies and
things going on even this kind of like we blurry thing at the top here.
Plus we're going to add this film grain has nothing to do with anything other than I try to make it
look a little nicer by adding film grain.
Right.
Let's go and do that now in Adobe Illustrator.
OK first up open up gradient mesh III from the exercise files and we look at the easy ways and the hardware.
So I'm going to give them a rectangle to just draw a rectangle out here doing it with simple shapes
like this ellipses and rectangles super easy great mission is awesome.
What we're going to do is there's two ways of adding a mesh.
OK you can go to object and go down to create gradient Mitsch decide how many rows and columns.
I guess the more rows and columns you have the greater control you have but the harder it is to make
it look like smooth.
OK so more detail but less smooth.
So yeah let's go with that and we've got our grading mesh and the other way to do it is I'm going to
grab the rectangle tool do something relatively similar and there's a way of doing it using the tool
over here is a specific gradient Mish too.
And this way you can just kind of click and specific parts.
So to you what you want to do once you've got your gradient mesh though the technique is the same.
You want to work with your white area.
And let's say we're going to select all of these guys are on the outside I'm looking these guys are
going to hold shift and grab the ones at the bottom as well.
So just got all these top anchor points slick and the bottom ones are going to open up my properties
and I'm going to get a fill in I'm going to go to my swatches and if you're using my file I've got some
pre-made ones for us and I'm going to click on you guys and you can see what it does it kind of adds
gradients now.
Nothing very exciting yet has happened right because like I could have done that with just a regular
grading on a grip all these guys in the middle here and make them great game and still you could have
done this where it gets different is if I click on one of these guys maybe that one and that one I'm
going to go into here and say I want you to be pink.
That's where it gets a bit different right.
You can actually map out gradients or in my case make them look terrible and let's have a look at what
else you can do.
You can move these guys this guy I can move and build him down this corner.
You can see it doesn't really kind of interesting airbrush style fix.
OK.
And you can move him around.
All these guys have handles.
You can see I can adjust this guy.
He doesn't have a color.
It's going McCullough and it give him like K and you can start kind of bending these things around and
you start distorting.
Now that's not a very good example because I'm just randomly doing a shape but it gives you kind of
I guess a look at how easy it is when the shape is simple.
Let's look at doing something with now while k now the same thing right.
What I'm going to do is I'm going to duplicate.
You're going to go up there exciting as you are.
Shift brings up my iPod to holding down the key on a PC.
You know Mike going to have another option.
KING It isn't.
Now I like the body of this while and trying to gradient mesh it's painful.
Gay just happens when really complex shapes like this.
Now I say that just because it's just honest I try and use the to like I'm going to click the code and
it's kind of fallen.
It's kind of put in this line and went around the eye which is not really what I wanted but it's OK.
And and it's kind of done some stuff around here.
So up here it's gone to really weed can't just you just what happens with a complex shape.
I can say I want a couple of extra points follow along here because this is kind of what I want to do.
I want to make a kind of gradient that follows this line.
The problem with it though is yeah all that kind of complexity.
I'm going to hold shift and grab you because every time you do one and they cross over it creates another
joining path and it gets a little confusing about we actually going.
I'm holding Shift with my direct selection tool clicking on things.
Now I'm going to go to say that Clavier.
It's kind of working.
And the more you add the harder it becomes.
So what I tend to do you can you can mess around with that it's fine use a great tool.
So what I do is I'm going to duplicate this first up board.
So shift would holding down the key on a PC and can make to make a duplicate.
And what I want to do is instead of trying to turn this into a mission was going to use a simple shape
with these Ellipse just because it has like so I guess it's quite elliptical shape.
Use that or rectangle something super simple that matches what you're doing.
Make sure it covers the whole thing.
And actually what I'll do is idyllic that is I want to on its own layer because I want to use this guy
on top.
OK so this is going to be my way.
I'm going to have another layer but I want just underneath it.
And you're going to be migrated.
And our little trick is.
And let's actually grab my lips too.
On the gradient layer and a draw that big.
So he's just underneath.
Now what I'd like to do is be able to see through this way.
Now I could go to my outline mode K which is command y on a Mac all control y on a PC.
But actually what I want to do is there's a little trick with the whale.
You get a lock on so it doesn't move but also command and click and k just turns into outlines you can
turn it off by command clicking it as well.
So I'm working on the gradient laugh and I can kind of see the outlines at least.
Now why do I do this.
Because when I start using the gradient to describe him him when I say gradiently I mean grating to
is when I start clicking and say Here it's more consistent lines appear.
OK so let's say I've got this one and I can grab my direct selection too and I can start bending this
around to kind of fit the forms in the shapes of what I need and what I might do is Beenham around my
ellipses may be a bit big for what I need.
But you're getting the idea right.
And if you need more points.
OK.
Slowly but surely remember the least amount of points becomes easy.
I'm going to follow that line along another one why error.
And I'm going to stop bending this around came.
I don't even know what I'm doing.
I'm kind of just following some curves I'm going to have I'm going to cross my fingers as those things
get to look half decent when I'm finished.
Am I going to add another one there a y arrow.
Which is the A key and this guy here had to be made ok to kind of make this thing consistent.
But what you can do is you can grab him and drag him up there make sure these guys don't overlap.
I could spin you just I should I just make it look really cool.
I'm kind of happy with what we're doing.
This guy here what is he doing.
He's got some way.
You can drag him off.
OK so he doesn't kind of influences it much but he's going to be up here.
You are going to come up I think it's going to come out here.
You know like get on with it.
I'm getting on with it I promise.
All right.
So what I'm going to do now is I'm going to click on.
Maybe that's got me be holding Shift grabbed this guys.
Well.
And this guy's got three of them selected.
I'm going to go to my properties panel and get my fill.
And I'm going to use some of that gradient.
OK.
And and that's the way to kind of do a great mission.
Yes I could have just done with a Radie just a maybe a linear gradient.
Let's go further K and couldn't have done that with a radio.
All the NEA maybe could.
So when it gets down to things like this this guy force him in here when it starts doing some cool kind
of pushing around all of these things
so it's that kind of really kind of tricky gradient and that you can see it's kind of really sharp Over
here it's that's getting quite Pheri of here just because the distances between these anchor points
are quite quite big.
So go through all what do we do now is you spin a bit longer doing it than I did man bed.
So I'm going to grab this guy and we're going to go to a large panel and hold the key to turn that back
on.
And what we want to do is they need to be on the same layer now because we want to turn them into a
cupping mask.
And do they need to be on the same lap and that's a good point.
So it's only the whales in front.
I'm pretty sure I might be able to shift click this guy and hit command 7 who did work.
OK so c'mon 7 is the shortcut for clipping mask.
If you're at the long way there's make clubbing masks not very long as a button or if you're an older
version of Illustrator object clipping mask make.
Either way that's what I'm trying to do right.
It's easier to do this gradient mesh inside a simple circle than it is to try and do on top of the actual
shape.
How good is this.
This is pretty bad.
The color seem like a good idea.
I'm caught out live live and direct because what me.
Now one more thing we might do before we go is often people want to do a kind of a great mesh that looks
like kind of like they want to do they think they need a gradient mesh when they don't.
Let me show you another way that I often do things.
Ok so I'm going to grab my Pinto and draw it in the cards off.
On you.
Because what I want to do is I want to create kind of a shape.
Pia
kind of has this kind of
get at my head let's make it a reality.
So you want to kind of like a jelly button kind of thing.
So instead of trying to do that with a gradient map and it's easier often just to give it the right
color.
So I just clicked on hand I'm going to say I want you to be white and widely and then just use a blur.
OK so I'm going to go effect I'm going to go to town to blur and use simply turn cheap trick to preview
on and you can kind of see what it's going to do.
Same kind of thing that we maybe would have been able to do down there.
OK but given the Blairites Ingelow the Pasotti little birds I wanted this kind of yeah that kind of
effect.
I'm going to do one last little shape.
What I'll do is duplicate him and you my friend.
I'm going to trim off with a Circo to get a kind of a bit of a life thing going ship to outline mode
so I can grab you like both of them and I'm going to go out to IMO because it's kind of confusing.
I'm going to use my shape builder to shift him and I'm going to delete these gates.
So I was wondering this kind of chunk and what it might do is turn down the blur of this so we've got
something it's got an effect applied.
You'd have to go to the either the appearance panel which is under a window or my case I can see here
and I'm going to turn this way down.
Now but there's kind of like Duell effect here where the top part is there are different blue levels.
You get what I mean.
I mean I was hoping that was going to look better but hopefully you understand and take Niek grainy
it meshes can be tricky sometimes it is easier just to make things like that and just blow them out.
One last thing before we go is often gradients especially great meshes and stuff in Illustrator it has
a really kind of like vict a look that maybe isn't pop as popular at the moment cooler.
The trick is you can select all of the stuff and add a cool effect in here under effect.
Cool.
I'm trying to redeem myself or make it look somewhat better effect and go to artistic.
And it's not under to stick under texture.
Go to grain and I had kind of one part of it selected to the part and I have it.
I would also like to add
it's actually just picked whatever the top piece was and you kind of see what it's doing right.
Is indeed a little bit.
It's adding this kind of like film grain takes just stuff to it.
You can decide on you know the intensity and texture and it doesn't mean way with the edges though.
I'll show you how to get around that but it only pick one pace even though it has done it to all of
them.
Can you see.
And I find and forget the edges but it kind of adds a nicer effect to these guys.
So to get around that Pixley's pixelation of the ages I'm going to undo that and it's easier to do this.
Grab a rectangle tool roll this over the top and you apply it to this basically into a lab mode.
So how do you apply the exact same one apply grain.
Is this going to be here for you if you haven't done before.
Like repeat the thing I just did.
So apply it to this and then on to here and opacity so to multiply does the same kind of effect add
something to the background as well which maybe not what you want but it definitely fixes up these images.
And what I might do is adjust that a bit more.
And my parents panel here click on grain and contrast I'm going to go up maybe intensity.
Let's go look again the better how I would deem myself.
Probably not.
But you my creative friend I got to make it look did better than me.
You've got the techniques.
All right.
That is going to be it's.
I'll see you in the very next video where I will do something that looks nicer.
I promise.